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PRIMITIVES AND OTHER OLD MASTERS 


BELONGING TO 


NICOLAS RIABOUCHINSKY 


MOSCOW 


FROM THE COLLECTION OF 


PRINCE GOLINICHEFF-KOUTOUSOFF 


PERSONAL SECRETARY TO HER MAJESTY 
THE DOWAGER EMPRESS MARIE FEODOROVNA 


AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH 
NEW YORK 


@ pot ielee by roni is not-t 


1ip 


a Eee 


uchinsky Primitiv 
inese Rugs from ~ 


ORKS BY THE LATE. 
~  . WILLIAM KEITH 


Russian Leon Gaspard’s 
Brilliant Impressions of the 
War at Reinhard Gallery. — 


= 


ee Be es tai as : 
| __s- By ROYAL CORTISSOZ. —__ 
_ Seven years ago there was organized 
trograd, by the managers of the 
_ |art journal “Starye Gody,” an ex- 
_ jhibition of old masters from the pal- 
" jaces-and private collections of Russia. 
ade a profound impression, which» 
pened when Van Oest, of aaa, 
“brought out a well illustrated, 
on’ the subject. Everybody had | 
; known the fame of the great 
at the Hermitage. but few 
re of the artistic riches lying 
ves of other galleries. M. 
enit ges of the 
id, made it plain, too,| 
isseur had long 
ean markets. 
t moment 
en some interesting | 
this fact. M, Nicolas | 


of 
. Art Galleries thirty-. 
paintings from the collection | 


icheff- tousoff, func- | 
Golinichefft-Kouto ie 


ary im the imperial circle at 
ad. . They will . the | 
mext Wednesday evening. Apart | 
their intrinsie merits, they awake 
sd reflections on what the Ger-. 
ns, looking around for exeuses for 
i erimes against civilization, are 
yont quaintly to eall “the Slav peril.” 
At this particular time, when te 
orld is rejoicing over the landing © 
assian troops in France, it is pe- 
y appropriate and pleasing to 
also another testimony to Rus- 
interest in the things of the mind, 
Though this is not a great collec- 
|tien it has a ver 


serious Patty ed 
: @ character. The traffic of the Kus- 
“i ee Gone with the French in. the 
eighteenth century, 


{ 
| 
} 


sigs 


4 which promoted 
ithe importation into the country of 
r Day oe the. more pilot ag art 
period, is recalled here 
le pee piece, the little “Sleeping 
Sym hs,” attributed to the school of 
f ch ; ignificance 
a grave slg : 
Be devotional subjects +e 
Italian school. For pure charm ’ 
best of these is the “Madonna an 


There are 


ose Milanese origin 
Dulitde ee only hin Abe type 
f the Madonna’s face an ead, 
a ie sweet sentiment pervading be 
whole composition. The two pain 
ings by Sodoma and the Madonnas by 
Lippi and Piero di Cosimo, if not a 
“highest quality, are at all evan : 
rain ristically beautiful examp ee 
of the earlier Italian tradition. ‘% 


ardo 
is unmistakable, 


Moscow, is showing | | 


be_sold at the, | 


All the other paintings are || 
of the. 


Child,” given to the school of Leon-| 


a ds not: to be 
fen ised. The second of the twa 
Poussin, is admirably representative} 
of his quality, both in the noble land- 
seape and in the vivid 
and satyrs. : : 
_ But the special import of this exhi-j{ 
bition is traceable to the northern 
primitives and their successors. It is 
strongest in the landscapes of Patinir, ' 
Pieter Breughel and Herri Met. de} 
Bles, those naive masters who turned 
nature into a kind of child’s dream, | 
dotting the scene with romantic ne 


itles, peopling it with figures half hu- 
morous (to our modern eyes) and bee, 
stately, and somehow contriving—de- | 
spite their essentially topographical 
hypcthesis of wood and mountain—-to 
fill their paintings with an exquisite 
atmosphere. They had color; they had: 
—in their way—light and air, and es- | 
pecially they had imagination. All ith | 


pictures in this category count with 
real weight in the show. As pendants 
to them or as the full fruits of the in- 
‘spiration they embody we may cite the) 
levely “Waterside with Boats,” by, 
Salomon Risdael, the “River Fishing. 
Scene,” by Van Goyen, and the “Milk-: 
isg Seene,” by Paul Potter. These are 
all masterly illustrations of the more. 
veined naturalism of the Low Coun- 
tries, The figure subjects by the prim- 
itives include a jewel by Mabuse, the 
“Virgin Enthroned,” an interesting if. 
not altogether convincing “Christ” 
Amongst the Doctors,” attributed to 
Jerome Bosch, a slightly more persua- 
sive “Flight into Egypt” given te Van 
der Goes, a couple of fine panels by 
Gerard Van der Meire, and two curi- 
ious panels by an anonymous fifteenth 
century German. The “Peasants Fight- 
ing,” by the elder: Breughel, the por- 
‘traits by. Amberger, Van Dyck and 
Moreelse, are of slight interest. The 
portraits by Cranach are of no greater 
value, but this “Madonna and Child” is 
4 sound souvenir of his art. In the 
entire company of paintings there are 
but three or four things that are quite 
uegligible, In the main, as we have 
‘indicated, it justifies itself in a delight- 
ful manner. 
The upper rooms are filled with 
lancient Chinese rugs and carpets from 
the Tiffany Studfos, a collection of 145 
mieces which will be sold next Friday 
ang Saturday afternoons. There is one 
lastuunding object in the lot, the grand 
temple carpet (No. 145), which . was 
made for the late Empress Dowager, a 
‘masterpiece in orange and _ apricot, 
‘maacuring a little more than 32 by 31) 
feet. In its vastness and in its beauty | 


lit is a mightily dominating affair. But | 


of that 
by only a sin- | 


there is choiceness everywhere in this | 
exhibition. One has only to step into 
the next reom, for example, to observe | 
the Chinese artist working ov a much | 
smaller scale and in a more intimate | 
mood with equal success in the ex- | 
quisite “Seventeen-Medallion Rug 

No. 124), a little miracle in blue and 
weory. We attempt no further specific 
comment. The collection as a whole 


is a joy. 


French pictures, the “Bacchanal,” by} | 


rout of nymphs! |- 


“Tnusual Interest in Collection 
of Dowager Empress’s 


Interest in the art’ season now near- 
ing its close will be kindled afresh by. 
Some collections just placed, upon pub- 
[lic view in the galleries of the Ameti 
can Art Association: These are the ola 
masters belonging to Nicolas Riabouch- 
insky of Moscow, Russia, the Chinese 


rugs of the Tiffany studios, and an ex- 
tensive set of old views of New York 
and old maps. 


The Riabouchinsky pictures formerly 


Couns Secretary, 
priv RAN Y RUGS “OFFERED 


belonged. to Prince Golinicheff-Kou- 
tousoff, personal secretary | to 2 
dowager empress, Marie Feodorovna, — 


sand were once housed in ‘the Winter 
Palace, Petrograd. 

These paintings are all ancient and 
Some come under the category of prim- 
itives. The nearest to our epoch is 4n 
eighteenth century panel, aseribed to 
the school of Bouches.. There is a pors 
btrait. by Moroni and Madonnas by Pier@: » 
(di Cosimo and Filippo Lippi, ‘but for 
the most part the work is northern, 
| Flemish, Dutch and German. 


Contain Much to Interest. 


Such interesting and distinguished 
primitive paintings “have not appeared) 
inh an auction here for a long time, cere 
| tainly not this season. The separate 
| works of art will appeal to persons of 
taste, and the collection as a whole has 
so much homogeneity that it may. be 
recommended to those who take pleas- 
‘ure in. a gallery that is the result of a 
leonsistent and’ informed standard. Hyven 
ithe landscapes are imaginative in qual- 
lity and will succeed greatly with all 
those who bring this faculty to bear im 
\their admiration of pictures. A 
| A landscape by J. D. Patinier; @ 
\Flemish painter, is given the place of 
honor in the gallery, possibly not so 
much because it leads the collection in 
‘importance as for its decorative value, 
\It is, however, an important landscape, 
\It shows a wide expanse of territory 
‘with all the details that the mediaeval 
‘mind loved to dwell upon. There is a4 
wide river with a turreted castle upon 
}an island, and there are wild crags, 
|battlemented gates, all sorts of activi- 
ities in the distance, a nativity at one) 
side, peasant pilgrims at the other, and 
‘in the middle foreground upon a curious 
‘bridge, a philosopher all alone, musing 
ipossibly upon the vanities of this life. 
i'This bridge is cleverly placed to frame 
lin the wide river which otherwise would 
jhave divided the interest of the painting 
jinto two hopeless halves. ! 

This Patinier landscape and also those 
iby Josse de Momper and Pieter Breuys 
ixhel] the tnird are decorations that one. 
would decidedly not grow tired of soon, 


The De Momper landscape, to whieh 
‘figures by Breughel have been added; 
lis amazing in detail and in the truth 


iof the detail. It has somewhat thé air 
lof a setting for a grand opera, say, by 
Weber or Wagner, and from a clé@ft in 
a wooded foreground one peeis out upon 


a. wide valley. This valley is bathed 


rite be 7 
Sones landscape, ~ Ai; 
picture are few, but— tney aré-s pe 
over the foreground in. ba the right 
‘places. Why oes aie 
“Dominated by “oly Fa 


“The opposite. wall of the A er 
laminedted by a “Holy Family,” by the 
great Sodoma of Signna, which, in ‘ad- 
dition to its religious tenderness and 
rich color, is, like all the other works in 
the Riabouchinsky collection, eminent] 
‘decorative. The Virgin is a gracious 
and beautiful type. She holds the infant 
Christin her lap, who regards the infant 
‘St. John serenely. St. Joseph is at the 
right in an atitude of worshipful humil- 
liation. The Van der Goes “Flight into 
Hgypt” is a small panel excellently de- 
Signed, and so, too, are the altar panels 
‘by Gerard van der Meere, clearly and 
‘Straightforwardly realistic in the Flem- 
‘ish style. 

* A portrait of a man by Lucas Cranach 
the elder shows a robust personage of 
middle age cof great force of character.) | 
The artist has taken especial.pleagure in) 
‘the textures of the flesh; the hair of 
the head and beard and also of the 
fur -tippet, which are carefully differ-) 
entiated. The great Frenchman, Nicolas’ 
Poussin, is represented by a charming 
““Bacchanal,” in which there is dancing’ 
and revelry in a classic grove besnde| 
a. statue to Bacchus. The Moroni por-' 
trait is a three-quarter length of. a) 
‘bearded, melancholy man, in a cloak, 
and ruff. 

. Two pictures of the German school, 
painted in the fifteenth century, portray) 
‘pisodes in the life of St. Catherine 
land incidentally give one vivid ideas of | 
certain historic atrocities. St. Catherine 
in one picture is seen in the act of mar- 
tyrdom. Callous torturers ignite the fire 
at her feet. A bearded man who watches 
the scene in terror, is himself, haled be- 
fore the emperor in the companion pic-| 
ture and by the looks of the torturers 
is to receive short shrift: -Van Aeken’s 
“Christ with the Doctors,” Christoph} 
Amberger’s “Portrait of Charles - V.,” 
Paul Potter's “Milking Scene’ and the 
Lucas Cranach “Madonna” are among 


i 


| 
4 


the other notable works in the display. 


| iy ; tives : — by sm 
ks Rigbouchiisley Ho Be Sold. . 


? Be 
~ee beet 


Thirty-two paintings: Sroweti t to. aes 
country recently py Nicholas. Riabouchit= | 


sky, of Moscow, awho is an agent. of the 
Russian government in, ‘the placing of 


war orders: in:this country, were place 
on exhibition | yesterday at the’ Ameri F 
Att Galleries, No. 6 Madison © ‘Squar 
pe ti, pre to ‘their co a. 


Prince Golinicheft - “Koutousenel A eaonall| aay Ger 
Dowager “Empress ot 


secretary to the 
Marie Feodorpvna. 
The collection is rich in Wares by 


primitive painters and by the old mas- fe 
-One of. the snost interesting is) 


aie 


| Sheruba:” by Lucas icranaeh™ the. ier lod | n 


a work that is typical in color. and 
subject of the early German. school.. 
The Virgin, \Samon in features, © 
yellow hair, smooth over the head - ‘and 
falling in >ringlets upon the shoulder, 
The “cherubs have — blue - green wings. 
The Christ Child, standing in the: lap 


of the Virgin, offers an apple. to the 


infant St. John. The pier is dated 


1586, 
An interesting painting of the. French’ 
school is’ ‘““A.  Bacchanal’ by Nicholas 


‘Poussin. A statue of Bacchus is sheltered 


in -& pleasant landscape. Fauns play on 
their pipes and nude nymphs _ dance. 
‘Qandscape with Representation ‘of the 
Nativity’ is. a work most beautiful in: 
color by. Patinir, sixteenth century Flem- 
ish master, with a panoramic landscape 


having a river, a city and a ‘eastie in the 
distance. “Another Flemish sixteenth cen- 
tury picture of entrancing beauty of color, 
with its ultramarines and reds, is “A 
Mountain Landscape with Abraham’s Sac- 


| for each item. eye 


rifice of Isaac,’ by “Met de Biles. | The! 
scenery is of the noblest and ig interpreted, 
in a fine romantic key. 

The two oldest pictures in the collection 
are a pair.of fifteenth century German 
primitives, one depicting the martyrdom of 
St. Catherine and the other showing the 
fate of her earthly lover. These picture 
are most typical of the early German 
school, with vigorous drawing and noth- 
ing undone to indicate the villainous char- 
acter of the torturers. The colors are as 
pright, apparently, as they were on: the 
day they were painted. | 

A. fifteenth century Dutch picture is| 
“Christ with the Doctors in’ the Temple,’ 
by Jerome Bosch, an interior with brown 
tones and vigorous characterization. A) 
fine fifteenth century Flemish example) 
is “light into Egypt,’ by Huge van der) 
Goes, bright in color and tender of sen- 


timent. The early Italian master Sodoma. 
is represented .by two. works, “The Holy! 
Family with St. John,’’? most: peautiful in 


uy 


bouch 
ey. a 


Mas! guy ee 


pictures, Sout : 
or three of Dutch 
puscular region | 
ers. as Joachim Pa 
de Bles. names * Exp 


of hattle, he cataloene ‘ 

collection is ¢ tly -co 
out a trace of per A 
cerning the attri : 
the usual patter - 
| earlier sales, but: 
ful descriptive | 


- The pictures differ g 
‘The panel given to Jer 
haye delighted the bale of] 
js an unconventi ) he 
temple scené with Christ and 
tors. ‘The interior rarer 
sented is rich in luminous 
“ows. ‘Two ar $ 
arched doorway Bite: ‘tiie 
‘The éight doctors wear v 
‘$ions of interest or in 
far “in the background 
child Christ, his importance as 
jnent of the scene minimized, T 
per of the artist is precisely th: 
“which Daumier drew his famous eourt- 
‘room series. A primitive touch | the 
‘introduction of ‘a béautifully ited 
butterfly in the foreeropiid near, the’ 
edge of the panel. 

The Patinir landscape te ee eal 
sive’ composition, with rocks and land- 
‘scape, a little town, a decorative river, 
bridges, and human figures assembled 
under a deliberately composed sky. The 4 

, 
i 


color is pure and lively,’ and the 
of the foreground are triumphs of. 
viduality,, dramatic ae POS, 

and expression, 4 he ay Se 


a 


ar Chetstonh Amberger. “The 
ster of the ‘Death of the 
is credited with a charming 


ling in expression’ nd 
executed detail, Ab 
Marcellus Koffer. 
g chiefly for the 
desing and the pars. 
the figure of S y) 


is-also eve his typ 
pee ‘and the - fine 


nga: , it whottp” 
‘its: ‘ent condition. The | 


f dens niba and pee 
ny Studios, one of which 
; for its combined great 
ike Print. Room id 


ie pia Mies and maps of 
York and other anerican. 


Art ‘et St. Mark’s. 


Lclu eae tt iil ia now an exhibition of 


Pp psig on yiew in the Hall of St. 
rin-the-Bouwerie by Lewis: Wp 
, Mr. Herzog is a well- trained 
-and a mtich medaléed artist, who 
eferred this quiet little aAllery 
ww out on a daffodil bed te the 
S eg vee for showing his pic- 
‘ have to make your way 
" path running beside the grave- 
he church undér thé stern 
| gaze © ? the 8 Stuyvesant statue to reach 
the ‘hall, and he cannot be sald that the 
| pictures are in oy good light when ‘you, 
] Nast but the ee well worth see- 
Ay he Amsterdam Flowér Mar- 
Ht in particular is a piquant pein 
ie ent ef coior and expressive movement 
Wan? o¢casional figure detaching itself 
he rich foregrotind. mass with an 
[inaividuan gesture and attitude.” 


adonna and Child,” in a. 


eie Ls Ponte! thelanee to Petcok olin here 
A ie -Koutousoff, personal secretary to the 
Pin § Dowager Empress Marie Feodorovna, 
ii Winter Palace, Petrograd, is now over 
n i] here to be sold by the American Art 
Galleries, Madison ‘Square South, is, 
after all, a simple matter. This is 
true, even though it is more than four” 
thonsand tiles as the crow flies from Nevski Pros- 


pect to the square where the hours are. chimed “tron 
the Metropolitan’ Tower and Farragut in bronze 
‘listens for eight bells. 


Because Mr. Nicolas Riabouchinsky, of Moscow, 
is'a very wealthy man, he bought the collection of _ 
Prince Golinicheff-Koutousoff. Because Russia is 

at war, Mr. Riabouchinsky is in New York engaged 
in the service of his country in certain matters con- 
nected with the purchase of war supplies. Because 
he is here he has discovered that in this land of 


>. A. 


Bethlehem Steel, U.7S8.  Steel,. Crucible Steel and 


much higher—prices than they do on the Continent | 
even in the most favored times, let alone now. That 
is, why. the former. Golinicheff-Koutoysoff. collection 
of paintings will be placed on view next Saturday 
in the American Art Galleries and will remain there 
on exhibition until the following Wednesday, when, 
the old masters will be taken to the Hotel Plaza — 
and—rap, rap, rap—be sold at public vendue to the 
buyers upon whose bids Mr. Kirby’s pencil descends 
| with a final rap. 
Wealthy Russians have long been collectors af 
| art and especially of ancient paintings and objets 
| dart. The Eremitage, Petrograd, is one of the great 
| public collections of the world. It fixes a standard 
| so high that it would seem impossible for a Russian 
of culture to go astray either in forming a gallery 
or in appreciating a collection that may have come 
o him by inheritance or purchase. Mr. Riabouchin- 
by ’*s collection is catalogued as containing old mas- 
ters “of the Northern and Southern schools’’—that is, 
paintings by masters of the Low Countries and Ger- 
many, and by those of France and Italy. 
| The Flemmg Hugo van der Goes is represented 
‘in the catalogue by an altar panel, a “Flight Into 
Egypt,” and there is another panel by the Flemish 
artist Gerard van der Meere, with what is probably 
ia companion piece by the same artist; the two panels 
‘most likely being wings of a triptych. 
| Also of the “Northern school” is the portrait of a 
young man by Moreelse. The dark brown hair of 
‘this young man is brushed up into a roll at the top 
lof the head and at the sides brought forward into a 
| Single curl, formerly the war lock of Central Europe, 
pehoush the custom may now have gone out. Nor is 
‘the subject of that part of Europe, but more likely 
| Italian. Another portrait of a young man, painted in 
| golden brown tones, the hair curling low on the fore- 
| head and falling over the ears in cayalier ringlets, 
'is catalogued as by Van Dyck. As in practically all 
'the Van Dyck portraits, the costume, due partly, of 
course, to the picturesqueness of the period, is at- 
‘tractive. The broad linen collar, fitting close under 
| the chin, is edged with spikes. The slashed sleeves 


ea “war brides,” works of art’ sell at highet== 


Feapitel taker would like 
“throne in Mabuse’s “Virgin: 
figures are so dwarfed | by 
carved throne that it is a picture « of 


_ than of the Virgin and Child. And the ‘throne was Bs 


well worth painting. 
For it is an elaborate construction, the aien one. 
of the Flemish Renaissance. The throne rises from 
a low white marble dais right to the top of the 


picture, and must even be imagined as continuing | 


slightly above it. The canopy is.crowned with a 
circle enclosing the winged head of a cherub. There 
are two carved newel posts and two large carved 

_pendants that droop from the canopy, the design 

f being ‘in: conventionalized fleur-de-lis. Through a 

 paluster and scroll carving in the back there is af- 

‘forded a glimpse of the landscape, which also ex- 

“tends to either side of the throne. It is likely to 
‘have been copied from a then existing piece of 

“carved woodwork, which, from its importance, it 

_ would be interesting to identify. 


There is a special reason for calling attention to: 


the “Madonna and Child, ” attributed. to the Milanese 
school of Leonardo da Vinci. Almost any owner of 
a collection of which this picture was a part would 
have it restored in the lower left hand corner and 
along the left arm and sleeves of the Virgin and the 


» 


legs of the Child. When. I saw the picture I asked 
if it was not to be restored. I was told, however, 


that Mr. Riabouchinsky’s. instructions were that it | 


‘was to be left untouched. Hvidently his view is 
that the picture as in its present state should go into 
the sale and its restoration or non-restoration be left 
to the preference of the purchaser, Incidentally. 
cautious work done by an expert restorer would not. 
harm the picture, but I presume it is the owner’s 
view that he is selling his paintings as they are, 
not as they might be made to appear. Yet it would 
not be surprising if in the ease of this picture he 


were persuaded to have a little legitimate restoring 


carried out on it. 


q Pays $2,500 for 
eh ‘scape with Repr 


- A ‘collection . 
ih abiiatives and 


Nativity,” by ac x Patinir 


‘In a court in the foreground is” 


- appears to be a medieval castle in the 


. Nativity A 


in the ce 
Deee of Be even 


econ hese 
ramen Mu se 


Patinier, “No. 29, 2 - aiiaee 
of the sixteenth century. in 
Museum for a ae 


The picture is a geeint inve a a 


of the Nativity. There are other. value 
figures, a stream of water with what! 


centre connected with the land by ma 
bridge; a town, winding roads, bridges, || 
rolling ground partially covered with. 
trees, in the centre of the be 

an enormous turreted rock, and oe 
is the warm) blue sky seen in. many ony 
pictures. 

An. interesting Paul Potter; a“ Milking! 
Scene,’’ No. 7, a row of slight feathery-_ 
topped trees, in the field are sheep, with 
the cows gathered to be miilked by 7 

icturesque maid, a quaint house, 
arge gate, a stream and bridges with: 
a tender sky, brought one of the a hinhet 
prices of the evening, going to Bo 
agent, for $1,775. A delightful “* Ma-’ 
donna and Child,” Filippo Lippi, No. 17, 
went to Seaman, agent, for $1,550; CAM 
Bacchanal,”? by ‘Nicolas Poussin, No." 
$2, one of the few canvases in the Pie 
lection, went to the same buyer 
$1,600. The... seductive ** Slee 
Nymphs mer 8 by. Satyrs,” Se te 
of Bouckiey, Ao. 9. went ta D. Geo 
Dery, for $7 


a Hn 


GG peda 


3 Dates rd yr! 2 ‘- = ELE PES ty te 
“amy Siringér.. © 

a if mag ; ae Fan \ ir 1-8 en 
P| “Brueghet TPP tendeeay with 
i figur van, Wee OLS sate 
28——Hern Mat 4 le co ssa Oh A 

Landscape men _ Abraham’s. 
dole of BC head ame M, 
J 2—Joachin D, Patinir, “Landsea 


f ig oe 
Boilies 8 Atoly Family. NY. Rit Wey Melkopoltean if Mus 


St. FOL” Fetches the trop. . 8-—Giovannl’ Battista’ Moroni, “Por-_ 
Oe abe sicaa \Oranson tke’ cet oh 
Figure, $8. 500. | | donna, and Child With 8. John) 
‘ and Cherubs’; T. Brummer... / 


é alii: Poussin, re pec chonats ei 
Sp | Wi Wt aman, agent......... 1,600) 


¢| MUSEUM ONE OF BUYERS ee 


e* 


ee eae a So 


Bs 


‘The art collection of Nicholas Riabou- 
Bidens which formerly peloyig to Prince 
|| Golinicheff-Koutousoff, secre) ry to the 
} Dowager Empress Marie” eodorovna, 
||‘was sold last evening in the ballroom 
oft the Plaza Hotel by the American : 
eee i B50 J‘ rt Association, 
“hila — panel) ioo8 _ Possibly ‘because the ‘collection was 
as the . | small one (there were only thirty 
paintings in it), or possibly because many 
wf the artists were unfamiliar to New 
"York collectors, the audience was not a 
jlarge one. It included, however, most 
| of the well known dealers, and the Met- 
' |ropolitan Museum of Art was among the 
‘purchasers. The total for the sale was 
$31,850, © 
' A composition by Sodoma of the 
“Holy Family With St. John” brought the 
leading price, selling to the Kleinberger 
|)Galleries for $8,500. The landscape by 
|‘Patinir, for which the Metropolitan Mu- 
4} |seum of Art gave $2,800, is & charming 
‘| |transeript of medieyalism, with quaint 
castles upon crags and one upon an 
island in a river. 
The jist of pictures with buyers and 
prices follows: 
1—Paulus Moreelse, ‘‘Portrait of a 
Young Man,’ R. Hderheimer,. $150 
8—Lucas Cranach the Bilder, “poy. 
trait of: Martin Luther,” #. K. ~ 
SUPin Bere) sea a ete ek 100 
’ §—Anton Van Dyck, “Portrait of a 
Young Man, 7 OW. OW, Seaman, 
EET cette a a Wea ae Fag hee 400. 
o4—Jan Van Mabune, “The! Virgin 
Hnthroned,”’ O, Bernet, agent. 525 
6—Hendrik Van Balen and Jan 
Brueghel, “Madonna and Child 
With Angels,” ©. Bernet, agent 675 
6—Marcellus Koffermans, “The 
Crucifixion,’’ Hdward Stone... 250 
7—Paul Potter, “Milking Scene,’ O. 


an ] 
uN; aK. ‘Serine 


th F Horna: Gi jaV bitte alee +8 


800, 

25 

Eger aig Penola 
ni ey 

a ven gee i ee 
600 


caer any Raateciibe wath Ab. 
s K Met de ‘of Isaac, (panel)— 
Bles; F=M. Wirmpie.. 
Representation of 


SS 


on D, 


| 

for haa: Bernet, ASents ies ve es os as sis ens Ba Be 3} Hh 

ed ah. Cate : $—Lucas Cranach the Bider, “Por- i] 
trait of a Man,” Kleinberger | 
Os Aa Ei OO ere a aol Hoe Galleries... -...- Dy wieae a 550 

adoniie “and ne with. Sé. ure —School of Boucher, sleeping 

Cherubs Nymphs Surprised by Satyrs, 
hae ee. - Veanaseyred Di GROOVE Go SIV ia.0 ae ysis a Cepepmaele 700 | 


YESS Creech wigs 10—Salomon Van Ruisdael, “sk Water- 


“A 'Bacchanal, — (Canvaa) “Nicholas ews side With Boats,” A. S. Van q | 
WHS OU i ois sed Sack arate BAS vei"s, ¢:'4 call he iil 

"Poussin; Seaman, -agent..... sieevess+ 1,600 OF aie a ae Goyer, idsioes Wishing | 
50 | Scene,” A. Si Van Wezel... ... 5BO 


132—-Pleter Brueghel the Hilder, “Pease Ci A 
ants Fighting,’’ B, K. Stringer. 300 
18Josse de Momper and. Pieter 

| Brueghel 8d, ‘‘Landseape With 
Figures,’’ O. Bernet, agent..... 550 


a. heey were formerly “of the 
‘of Prince Golinicheff-Kou- 
ih PR ersonal secretary to the Do- 


mpress Marie Feodoroyna, 


N4——Joos Van Cleef the Elder, .‘‘Ma- 
io Palace, a lat donna and Child,” Bdward 
| SOULE sd Ma IC Te ETC SL ee ULE) ae 550 
t5—Sodoma, ‘Madonna and: Child,’ 
RR. MGSrpHeimMer fi ei Vb ee 700 
16—Leonardo da Vinci, “Madonna 
and Child’’; R, Hderheimer. 1,050 
‘egtie o Lippi, “Madonna and 
ila”; W. W. Seaman, agent.. 1,550 
Agave Van der Meere, altar > 
panel; J. Goudard....... PPR reat a: | 
19—-Gerard Van der Meere, altar 
panel; J. Goudard........ 650 


i90—Christoph Amberger, “Portrait. of 

Charles ‘V. of Germany’; A. 3. 

Van WWesebih.) dc. eugiete at ace $25 

2—Piero di Cogimo, ‘Madonna ‘and 
Child’; W. W. Seaman, agent.. 1,100 

eo 9.-Sodoma, “The Holy Family With 

| S. John’; Kleinberger Galleries. 8,500 

'23—-Hugo Van “der Goes, “Blight Into 

| Beyprr ay de. Tl. Olivemwiaisn 48 ces 850 

24—Jerom Bosch, “Christ eh the 
Doctors in the Temple”; M. de 

ESTO WEA eek ob x oe MMOD sg ala “gee ph 825 

|25—-German school, ‘Martyrdom of i 

Catherine’; E. K. Stringer... 300 


iY 


_— 


be: 


Bis 


vi 


0 
Bs 


sent 
brief answer, 
the suit be 


: In. 
| ater -he “‘‘ denies 
y allegation,’ and more 
says that on Jan. 19,’ 1916,; 
‘plaintiff engaged in a game. 
nown as roulette, This he, 
; the only transaction between 
nd he believes that the dealings 
h. eee the papers filed by McKenna. 
to a game of chance. He further 
that ‘all transactions and all 
‘between the defendant and the 
| tiff were wagering contests which, 
ithout consideration and voidi?}) <4 
. of this, Riabouchinsky asks 
“the suit be dismissed. His attor- 
S were unwilling yesterday to go 
the details of the roulette game, but 
was contended by Walater ohn last 
zhi that M..Riabouchinsky had no 
ar knowledge that he had ever met 
Kenna, much less that he oweed him 

ay such sum as he has been sued for. 
. Riabouchinsky could not be found 
st evening. At the Vanderbilt Hotel 
Bs was said that he was not in his suite 
d that he and his wife had gone out 
for the evening. In a well-known. res- 
taurant where Mr. McKenna is usually 
9 be found it was eaid. dees he war 

‘not around.”’ 


| 
tras fet 


tougoff, 0 
on. April 26 


; jwas realized, 


An art eritic and. iter on ane su 


ri jects, M. Riabouchinsky several mon 
-jago gave an .exhibition of Russian nh 


sketches in Paris which attracted n ugh 
jattention. ay 
‘A suit to recover in'a camping! tr 
‘action, in which a Tim McKenna * 
was brought’ in January, i e 
‘Frank McDougal brought suit in’ 
reme Court to compel William: 
Ei to make good on a check. 
for Sid. 600 ova by Nolan to McKenna 
d by MeDougal. 


; the» 
thorogee ae throad Gur 
: é was own 0 
bat Ba Weak bee La of court ‘Nolan 


fe} ipea Pers ah the’ check. 


“stop 
! ad not until over 
i. MeDou @ year later that 


brought ‘suit. © McDougal, 
1, was, the dealer in the 4 


Husband 


no 


Co 


ABOUGHINSKY, 


1) 


Noted Art 


FERNANDO ROCCH 


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- ON FREE PUBLIC VIEW 


FROM 9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
FROM SATURDAY, APRIL 22nd, 1916 
UNTIL 
THE MORNING OF THE DATE OF SALE INCLUSIVE 


PRIMHIVES AND OTHER OLD MASTERS 


BELONGING TO 


NICOLAS RIABOUCHINSKY 


MOSCOW, RUSSIA 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON WEDNESDAY EVENING, APRIL 26th, 1916 
BEGINNING AT 8.30 O’CLOCK 
IN THE GRAND BALLROOM OF 
THE PLAZA 


FIFTH AVENUE, 58th TO 59th STREET 


ILLUSTRATED CATALOGUE 


OF THE 


VALUABLE PAINTINGS 


BY THE 


OLD MASTERS 
OF THE NORTHERN AND SOUTHERN SCHOOLS 


BELONGING TO 


MR. NICOLAS RIABOUCHINSKY 


MOSCOW, RUSSIA 


FORMERLY OF THE COLLECTION OF 


PRINCE GOLINICHEFF-KOUTOUSOFF 


PERSONAL SECRETARY TO HER MAJESTY 
THE DOWAGER EMPRESS MARIE FEODOROVNA 


WINTER PALACE, PETROGRAD 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE EVENING HEREIN STATED 


DESCRIPTIONS WRITTEN BY MR. CHARLES H. CAFFIN 


THE SALE WILL BE CONDUCTED BY 


MR. THOMAS E. KIRBY 
OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK 
1916 


CONDITIONS OF SALE : 


1, Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P.M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 


for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

{. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold ‘tas is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


CATALOGUE 
SALE WEDNESDAY EVENING 
APRIL 26th, 1916 


IN THE GRAND BALLROOM OF 
THE PLAZA 
FIFTH AVENUE, 58TH TO 59TH STREET 


BEGINNING AT 8.30 O’CLOCK 


PAULUS MOREELSE 
Hoxzanp (Utrecht) : 1571—16388 


No. 1—PORTRAIT OF A YOUNG MAN 
(Panel) 


] aes Height, 914 inches; width, '7Y% inches 7 
‘THE figure, seen almost to the waist against an olive back 
ground, faces three-quarters to the left, while the eves 
look toward the right. ‘The dark-brown hair is brushed 
up into a roll above the forehead, and a single curl, brought 
forward from above the left ear, lies upon the cheek. 
The face is distinguished by glowing flesh tints; brows 
that form a double curve over the gray eyes, and full 
lips, meeting in a Cupid’s bow. ‘The neck is hidden by 
a lace ruff, buttoned close up to which is a black tunic, 
with tight sleeves and shoulder caps. On the back is an 
inscription: “Orazzio d’Aless. d’Amer. ‘Temperani 
Panno XX nel AET.”, which would suggest that the 
portrait was painted during the artist’s sojourn in Rome. 


No (Qa R Rin weve une 


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a aS ee 7". = 


LUCAS CRANACH THE ELDER 
GERMAN (Saxon School): 1472—1553 


No. 2—PORTRAIT OF MARTIN LUTHER 
( Panel) 


J/O06% = Height, 9% inches; width, 7 “"d 

Tue figure of a man is shown o i the waist, cing 
three-quarters to the right; the hands, as they hold an 
open book, resting on the top of a slab of stone. ‘The 
head is covered with grayish white hair of nearly the 
same tone as the background. The eyes are brown and 
piercing, beneath finely penciled arched brows; the nose 
is strong and thick; the mouth small and firmly set, and 
the chin and jaw are noticeably large and full. A white 
collar, with a black edge, is fastened above the red bor- 
der of what appears to be a black robe. There are also 
traces of the coat having had a brown fur collar, but 
the picture is in bad condition. On the slab are in- 
scribed three couplets in Latin hexameter and pentameter 
verse. The first is as follows: 


“Cernis ut invicto dederat natura Luthero 


Flammantes oculos, oraque plena Deo,” 


which may be translated: 
“To Luther, unconquered, thou seest how nature had given 


Eyes charged with flames and countenance full of the Lord.” 


ANTON VAN DYCK 
Fruemisu: 1599—1641 


No. 83—PORTRAIT OF A YOUNG MAN 
( Panel) 


Height, 984 inches; width, 784 inches 

ge bee W.-W. J RAAB 
PAINTED in golden brown tones, the figure of a young 
man is shown to a little below the waist, slightly in- 
clined to the right. His hair curls low on the forehead 
and falls in “cavalier” ringlets over the ears. Fitting 
close under the chin is a broad linen collar, edged with 
spikes that spread over the tunic. ‘The latter has slashed 
sleeves, disclosing undersleeves of lawn with lace cuffs. 
A sash surrounds the waist, and from the left shoulder | 
a bandolier crosses the chest. On this the young man 
holds his right hand, with the fingers elegantly splayed, 
while his left hand grasps a truncheon. The background 
is composed of drapery. 


JAN (GOSSART) VAN MABUSE 


FLEMISH 


Born about 1472 at Maubeuge; died 1541. 


No. 4—THE VIRGIN ENTHRONED 
( Panel) 


See. Height, 1124 inches; width, ie 

Tuer Virgin, draped in a violet-rose Banga Coed 
folds that yet cling to her figure, is seated with her face 
held close to the Child’s, as He stands on her lap. Her 
throne is an elaborate construction of Flemish Renais- 
sance design, that rises from a white marble dais to the 
top of the picture, where the canopy is crowned with a 
circle, enclosing the winged head of a cherub. Con- 
spicuous features of the carved work are two newel 
posts, surmounted by conventionalized fleurs-de-lis, and 
two pendants that droop from the canopy. At the back 
of the Virgin is an opening through which appear the 
details of a landscape that also extends beyond the 
throne, showing, on each side, a house. ‘The one on the left 
is backed by wooded hills, leading to craggy mountains; 
the one on the right by water, following the windings of 
a precipitous shore line. 


HENDRIK VAN BALEN 
AND 
JAN BRUEGHEL 
Fruemisu: 1560—1682 or 1638; 1568—1625 
No. 5—MADONNA AND CHILD 


WITH ANGELS 
( Panel) 


i 7) Kony Height, 10% inches; length, 18 inches 
Tue landscape, painted by Jan Brueghel, presents in 
tones of green and blue a sylvan glade, bordered on the 
right by water, which extends to a woody bank, sur- 
mounted by blue hills. Against the water appear two 
red-breasted birds, perched on twigs in the foreground, 
while a third is similarly depicted on the left of the com- 
position beside a leafy bank. Under the shelter of fol- 
lage in the center sits the Virgin, clad in a rosy robe 
with a blue drapery across her lap. On this stands the 
Child, turning with eager hands toward a dish of fruit, 
offered by an angel kneeling at the left. The latter is 
fancifully attired in a yellow silk gown, fluttering above 
a red skirt. Another angel kneels behind her. The heads 
of Madonna and Child are distinguished by nimbi of suf- 
fused glory; and flowers, dear to the Virgin—forget-me- 


nots, pink and white roses—lie scattered at her feet. 


-_ ee eee le 


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MARCELLUS KOFFERMANS 
Admitted free master of the Guild of 8. Luke in Antwerp, 1549. 


No. 6—-THE CRUCIFIXION 
( Panel) 


Height, 13°24 inches; width, 10234 inches 
pits ov ° io g YA S A | 
THe Saviour, on a cross bearing the “monogram 
“I.N.R.I.” hangs between the T-shaped crosses on which 
are suspended the two thieves, the impenitent one being 
distinguished on the right by the contortion of his limbs. 
The figures are tinged with brownish tones, which also 
are employed in the landscape and a view of Jerusalem 
with turreted walls and a domed temple. ‘The sky is over- 
cast with dark gray stormy clouds. The Magdalen, robed 
in white, kneels with her arms around the Saviour’s cross, 
holding a dove-gray drapery that descends over the lower 
part of her figure. As if invoking pardon for the sin- 
ner, the Virgin stands at the left, shrouded in a black- 
ish-blue mantle, while on the Saviour’s right S. John 
also stands in pleading attitude with arms extended to- 
ward the Magdalen. ‘The expression of death is variously, 
but with marked convincingness, portrayed in the figures 
on the crosses. 


PAUL POTTER 
Houwannp: 1625—1654 


No. 7—MILKING SCENE 
( Panel) 


5 ee Height, 14 inches; length, 18 inches 

‘i]s 7 Da Birr ger 
A HERD of cows is grouped in the foreground and on one/ 
of them a milkmaid leans an arm, as she stands holding 
her bucket. A man with a stick approaches from the 
right, while to her left a woman, in white cap and red 
skirt, is seated on the ground beside a large brass bowl. 
Behind the figures extends a row of eight trees, whose 
stems and traceried boughs and foliage form a screen, be- 
yond which appears a gabled building with turret and 
spire. The entrance to its grounds seems to be on the 
left of the composition, through a gateway of brick piers, 
surmounted by lions. On the right, in the middle dis- 
tance, a narrow, arched bridge leads to meadows, dotted 
with cattle, beyond which a village and church tower 


nestle amid trees, 
Signed at the lower right, P. P. 


PTO cPshlcrieaalte * aston 
hig ey ee 
asa hot 0% am eo ee 


LUCAS CRANACH THE ELDER 
German (Saxon School) : 1472—1558 


No. 8—PORTRAIT OF A MAN 
(Panel) 


bom Ree Height, 1514, inches; Wig 0, ¥ 

TurNeED three-quarters to the right appear the head and 
bust of a man of middle age. He is of sturdy, somewhat 
stubborn type; has brown hair threaded with yellow, 
growing thickly above the ears and stiffening on the 
crown. Wrinkles show below the eyes, which have full 
fleshy lids; the nose has a strong, flat bridge and the lips 
are compressed with a decided protrusion of the lower 
one. He wears a short mustache, a littl growth below 
the under lip and a beard that curls close to the chin 
and jaw, extending to the ears. A white collar, edged 
with a frill and fastened with a string bow, les over 
a black coat, which has a broad border of brown and buff 
fur over the shoulders and down the front. 


Signed in the upper right-hand corner with a winged 
serpent and dated 1582. 


SCHOOL OF BOUCHER 


Frencu: EIGHTEENTH CENTURY 


No. 9—SLEEPING NYMPHS 
SURPRISED BY SATY RS 


( Panel) 


a7 14 Height, 1614 inches; width, 131% inches 
9. Ge, 

Four sleeping nymphs are grouped in the he foreman 
around a goblet and grapes, their rosy nude forms inter- ; 
laced in soft allurement. One holds a leopard’s tail; an- 
other, on the right, reclines upon a blue drapery, while 
the figure vis-a-vis to her is supported by red. cushions. 
Above her a carved satyr’s head projects from a ruined 
fountain, to which is attached an amber-brown silk cur- 
tain that forms a shelter for the sleepers. Peering over 
the top of it are the faces of two satyrs crowned with 
vine leaves, and the face of a baby Love. Another Love 
hovers in the air, brandishing in each hand a torch. 


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SALOMON VAN RUISDAEL 
Houianp: 1600( ?)—1670 


No. 10—d WATERSIDE WITH BOATS 
( Panel) 


ja fatae Height, 151% inches; length, 2314 inchs 

THE foreground is composed of water, the smooth sur- 
face of which is interrupted by boats and the reflections 
of trees that fringe the opposite bank. Near the left of 
the latter appears a buff-colored hut, overhung by a yel- 
low willow and a green tree, under which a man is seated. 
Trees extend along the waterside in a perspective line 
that comes to a point on the extreme right. Here, a 
boat dots the water like a speck. Nearer to us lie two 
others; while about the center of the foreground, still 
another pair is in plainer view—occupied, respectively, 
by three and two figures. There is a prevalence of gray 
tones in the landscape, suggestive of misty atmosphere; 
but toward the left of the sky hovers a rosy creamy cloud, 
near which two birds are flying. 


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JAN VAN GOYEN 
Houianp: 1596—1656 


No. 11—RIVER FISHING SCENE 


( Panel) 
6s Ai Height, 141% inches; length, 314, inches 
A = - VwrlWy 
Tue bend of a river occupies the foreground, whefe a 


man in a boat is approaching two eel-pots that are slung 
from a cross-bar, supported on posts. Farther back to 
the left le two other boats with fishermen, while a fourth 
is moored to a stake by some rushes, at the extreme left 
of the foreground. On the opposite side of the composi- 
tion the shore slopes up to a bank, under the lee of which 
sit two women in conversation with a man, who stands 
leaning on a stick. Beyond this group appears a clump 
of trees, near which is a single bird in flight, while a 
flock of six are silhouetted, higher up, against a puff of 
cloud. On the left of the middle distance a windmill 
rises among trees that show faintly along the horizon. 
The color scheme involves a prevalence of golden brown, 


indicative of Van Goyen’s earlier manner. 


PIETER BRUEGHEL THE ELDER 
Fruemisu: Asout 1530—asout 1570 


No. 12—PEHEASANTS FIGHTING 
(Panel) 


3 4 b Mas Height, 16 inches; length, 22 ya 


THE scene is a village green, backed by gabled/houses, 


leading on the right to a wide street where peasants 
are congregated. Playing-cards are scattered about the 
foreground and at the right a bench has been overturned. 
A woman, whose arms are folded, is falling with it, be- 
ing pressed back with a three-pronged fork by a man 
on whose head a flail is descending. It is wielded by a 
fellow in olive-green coat and gray hose, who in turn 
is being pulled back by another man. The group is com- 
pleted by another man and a woman, while in the left 
middle distance still another man stands between two 
trees in the act of hurling a missile. Opposite, at the 
left, a girl with a milk-pail on her head is approaching 
from a glade of trees that leads to a red house. 


Signed on a barrel at the lower left and dated: P. 
BruecHey 157? 


i 
P 
a 


3 DE MOM 


1GHEL Il 


ER. 


JOSSE DE MOMPER 
AND 


PIETER BRUEGHEL III 
Friemisu: 1564—16384; 1589—1688 


No. 13—LANDSCAPH WITH FIGURES 
( Panel) 


=_ 7q oe Height, 161% inches; length, 23°4 inches 

Tue landscape, painted by De Momper, is in ton¢s of 
blue and cream, with a foreground, representing a knoll, 
of rich golden brown. Here Brueghel has added the fig- 
ures—a man in gray suit, with a sack on his back, stand- 
ing in conversation with two women; one of whom, dis- 
tinguished by a red skirt, is seated, while the other rests 
her basket on a boulder. A boy with a basket on his 
arm is looking away toward a greyhound at the left. Be- 
hind this group a man and his dog approach the brink 
of the knoll, below which another man is disappearing. 
A cross stands on the edge of ground, showing dark 
against a valley and distant hills, on which appears a 
church. Another church occupies the middle distance at 
the right; a wood of bossy trees rising behind it on the 
lower level of a precipitous crag. On the summit of 
the latter the glimpse of a castle peeps ovt from the fo- 
hage of a tree that mounts up from the right of the fore- 
ground. 


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JOOS VAN CLEEF THE ELDER 
(Master of the Death of the Virgin) 


German (Cologne): Died 1540 


No. 14—MADONNA AND CHILD 
i ( Panel) 


UEORU or Height, 19 inches; width, 134% inches 

WitH a veil, transparent as water, trickling over her 
soft blond hair, which falls in ringlets to her shoulders, 
the Virgin is seated in the center of the composition. A 
rosy mantle, lined with brown fur and bordered with gold 
filigree, partially conceals her deep blue robe, which is 
cut square across the bosom, and has loose sleeves, folded 
back at the wrists, so as to reveal the gray lining. On 
her right hand she supports the sleeping Infant, whose 
own right hand clutches the thumb of the Mother’s left 
hand, while His left is twined around her second finger. 
Behind the figures is a landscape, executed with minute 
detail in tones of blue and brown, at the left of which 
appears an archer shooting up into a tree, while on the 
right two swans float on water, near a bridge that leads 
back to a cathedral and a windmill. 


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NI ANTONIO BAZZI. 


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GIOVANNI ANTONIO BAZZI 
(Called SODOMA) 
Iravian (Sienese) : 1477—1549 


No. 15—MADONNA AND CHILD 
( Panel) 


yr Height, 22 inches; width, 1444 inches 

70 0'— ie 

DraPep in a bluish green mantle that falls from her head 
to the ground over a rose-colored robe which clings to 
her supple figure in many folds, the Virgin kneels in the 
center, her arms extended in expressive gesture, her body 
inclined in loving adoration toward the Christ who sleeps 
on a crimson cloth at the right. In the opposite corner 
of the picture the infant S. John kneels, with hands raised 
in prayer, but his head turned toward the left, in which 
direction also, a dog, by his side, is gazing. Above the 
child’s figure appears S. Joseph, whose old and reverent 
head is bent toward the Virgin, while his right hand is 
raised with spread fingers in a gesture of protection. Be- 
hind the Christ kneels an angel with rosy wings, clad in 
an iridescent robe of red and blue. Farther back two 
slim trees with bushy tops form the prelude to a hilly 
landscape. 


Attributed to the Milanese School of 
LEONARDO DA VINCI 
Irauian (MizanesE): 1452—1519 


No. 16—MADONNA AND CHILD 
( Panel) 


v6 esote ce Height, 24 inches; hee i mnches 


Tue Virgin is represented standing behind a balustrade, 
on which reclines the nude figure of the Infant Christ, 
whose head is supported by a plum-red cushion, held in 
place by the Mother’s right hand. His head is clustered 
with golden curls, and He holds a bunch of daisies to 
which He is pointing with His left hand. Madonna’s 
face, lowered toward her Child’s, is of oval shape, with 
arched brows and drooping eyelids, a nose long and 
rounded at the tip, and a curving mouth with a full un- 
derlip. Her head and figure are wrapped in a blue 
mantle, the rosy lining of which is revealed around her 
golden chestnut hair, and in the folds of the drapery over 
her arms. The background is a wall of dark olive-green, 
pierced by two small arched windows, through which ap- 
pear glimpses of rocky landscape, the one on the right 
including a group that suggests the Flight into Kgypt. 


4 


beEVeE Ped es 


FILIPPO LIPPI 
Iranian (Florentine): 1406—1469 


No. 17—-MADONNA AND CHILD 
( Panel) 


Height, 2514 inches; width, 161% inches 


Vy. VW 2AISAGS. Mn- 


Tur Infant Christ reclines in a half-seated posture on 


TE 


the left of the composition, turning His head to gaze 
at the spectator, while stretching His arms toward the 
Mother. She kneels at the right, with hands devoutly 
joined and her head bowed in absorbed reverence and 
love. A solid gold nimbus, pricked with indentations, 
surrounds her head, over which a dainty veil falls in a 
series of fluted folds. The downcast eyes are deep brown 
and the face is delicately tinged with rose. Part of her 
crimson robe is visible beneath a blackish blue mantle 
that is edged with gold and embellished on the shoulder 
with a gold star of eight points. ‘The landscape set- 
ting includes a formation of rocks, slaty-colored, like the 
ground, while to the right, painted in tones of brown and 
pale blue, spreads a valley, intersected by a winding 
stream and bounded by blue hills, beneath a sky of faintly 
luminous blue. 


GERARD VAN DER MEERE 
(or MEIRE) 


Fiemisu (Ghent) 


Flourished about 1452 to about 1472. 


No. 18—ALTAR PANEL 
(Panel) 


/ he pas Height, 3014 ae inches 


From an arched gateway, overhung with a portcullis, a 
lady in the costume of the fifteenth century has come 
forth to greet an elderly man. She is bending her knee 
and leaning forward as if in the act of curtseying, while 
he also bows to her, resting his left hand on her right 
upper arm and his right on her other arm above the 
wrist. He is attired in an old rose drapery over a robe 
of gold tissue, and wears a blue cap, with brown fur 
border in the front of which is a star of pearls. The 
lady’s head is covered with a white cloth, fastened un- 
der the chin; over which les an ashy plum-red veil that 
falls in loose folds to the ground, disclosing a little of 
her blue gown. ‘The figures are standing in a paved 
court, enclosed at the back by a battlemented wall, over 
which appear the spire-tipped turrets and roof of a pile 
of buildings. 


The panel appears to be one wing of a triptych, to which 


No. 19 is a companion. 


GERARD VAN DER MEERE 
Friemisu (Ghent) 


Flourished in the second quarter of the XV century. 


No. 19—ALTAR PANEL 
( Panel) 


[ ays fant Height, 8014 eae 1034 inches 
Md Ly pry btA_ 

‘T'Hx scene is a Gothic interior, with a round-topped win- 
dow composed of two trefoiled lights, surmounted by a 
quatrefoil. A canopy of brocade overhangs a table or 
altar, spread with a white cloth, on which li five gold 
pieces. Behind the altar stands an ecclesiastic in a rose- 
colored mitre from which a drapery of the same color 
falls over the shoulders of an apple-green vestment. Moy- 
ing away on the right of the composition, with a lamb 
in his arms, is the man who appears in No. 18, while 
behind him another man, distinguished by long brown 
hair, is offering a lamb at the altar. On the floor, in 
the left of the foreground, lies a lamb with its throat 
cut. 

The panel appears to be one wing of a triptych, to which 


No. 18 is a companion. 


CHRISTOPH AMBERGER 
GrerMAN (Augsburg): (?)—1563 


No. 20—PORTRAIT OF CHARLES V 
OF GERMANY AND I OF SPAIN 


(Canvas) 


é > Be a Height, 25 inches; a a) inches lv 
gs NAN 

THE figure is shown to the waist, facing three-quarters . 
to the right, the hands, one resting on the other, appearing 
at the foot of the canvas on a black, arc-shaped object, 
decorated with gold arabesques. ‘The head is covered 
with soft white hair, arranged in wavy rows, while the 
mustache and beard, curved round the square chin and 
jaws and growing up to the ears, where some black ap- 
pears, complete the white framing of the face. The lat- 
ter, as well as the hands, is painted in limpid colors with 
miniature-like refinement. ‘The eyes are olive-gray, sur- 
rounded by wrinkles; the nose is long, slender and aqui- 
line, and the crimson underlip has the protrusion char- 
acteristic of the Hapsburg lineage. In the upper left 
corner of the olive-green background appear armorial 
bearings, enclosing the castles of Castile. 


PIERO DI COSIMO (DI LORENZO) 
Irauian (Florentine): 1462—azour 1521 


No. 21—MADONNA AND CHILD 
(Panel) 


Height, 2414 inches; width, 20 inches 

Tt WW te nn 
AGAINST an evening sky of primrose hue, the beautiful 
head of Madonna is seen, turning to the right, as she 
stands beside a scarlet-topped table, on which stands the 
nude figure of the Infant Christ. He gently grasps a 
little bird, and nestles up to His Mother’s body, while 
she joins her hands in prayer. Her headdress is com- 
posed of a gossamer white veil over a silk drapery of 
silvery wine-colored tones, which is knotted over the ears 
and falls to the shoulder. ‘The blue mantle is turned 
back, like lapels across the bosom, revealing the yellow- 
gold lining, which also shows in the folds around the 
elbow. Her robe is of crimson velvet, gathered into tucks 
by the neck-band, which is embroidered with gold diaper, 
and by the band at the waist. In the background, on 
the right, appears the glimpse of a city with walls and 
towers. 


GIOVANNI ANTONIO BAZZI 
(Called SODOMA) 


Irauian (Sienese): 1477—1549 


No. 22THE HOLY FAMILY WITH S. JOHN 
(Panel, Tondo) 


IZ Say 0 tA Diameter, flac bogie 
Tuer Virgin occupies the center of the composition, lean- 


ing toward the left, as she regards with reverent solici- 
tude the Child Christ, who is seated beside her. He turns 
His head to the infant S. John, on the left, who is clad 
in a skin from which a plump arm and leg protrude. 
A transparent veil covers the yellow hair of the Vir- 
gin, who is dressed in a deep blue mantle and rose-col- 
ored robe, the latter being embellished around the neck 
and sleeves and over the shoulders with a diaper of gold 
embroidery. ‘To her right stands S. Joseph in a mus- 
tard-yellow mantle and an olive-brown tunic, edged with 
gold. His hands are raised and his head, distinguished 
by dignity and tenderness, is bowed in worshipful humil- 
ity. Behind the figures spreads a landscape painted in 
tones of blue and white. It shows a hilly country, 
sprinkled with spray-like trees and intersected by a river, 
spanned by two bridges, over one of which a horseman 
is advancing at a gallop. 


Conta 


HUGO VAN DER GOES 
Friemisu (Ghent): Asnour 14385—1482 


No. 283—F LIGHT INTO EGYPT 
( Panel) 


Height, 3114 inches; width, 11 inches 

THE Holy Family is represented at the foot of the com- 
position, journeying toward the right; the Virgin being 
seated on an ass, whose body is nearly hidden by her 
greenish black mantle. Her head is protected by a straw 
hat, worn over a white cloth that descends upon her 
shoulders and down her back. She is seen in profile, 
gazing tenderly at the Child, whom she holds up so as 
to bring His face near hers. Joseph turns round to gaze 
at the pair, as he walks by the ass’s head, carrying a 
bundle on a stick over his right shoulder and a basket 
in his left hand. His headdress is blue, as also is his 
tunic, over which he wears a rose-colored cloak. On the 
left of the group two trees rise to the height of the pic- 
ture, where their foliage unites in a mass against the 
blue sky. In the middle distance, at the right, a camel 
and its rider are approaching an archway that forms 
part of a mound, with steps ascending to a pedestal, 
surmounted by a blue globe. A pilgrim is making the 
ascent upon his knees. 


HIERONYMUS VAN AEKEN 
(Called JEROM BOSCH) 


Hourianp: 7?1460—1518 


No. 24—-CHRIST WITH THE DOCTORS 


IN THE TEMPLE 
( Panel) 


re Height, 2614 inches; width, 23 mches 


THE scene is an interior, painted in tones of byown, open- 


ing through an arched entrance on the left into a street, 
where two figures are approaching. In the back wall 
are two round-topped windows, flanking a small column, 
the capital of which is carved with a kneeling figure, hold- 
ing the ‘Tables of the Law. Beneath this sits the youth- 
ful Christ, holding up two fingers of the right hand in 
blessing, as He watches one of the doctors on the left, 
who with palm exposed and index finger raised is argu- 
ing emphatically. ‘Two men are near Him, while on the 
right-hand side of the room sit five, with various expres- 
sions of attention or indifference. One old man in a 
black cap has gone to sleep. The faces of all the per- 
sonages are shrewdly characterized. Near the lower right 
corner a tortoise-shell butterfly has settled on the paved 
floor. 


ae oe ae eee 
cay 4 = ’ 


Pa’ 


2 cy Cenreny) 


GERMAN SCHOOL 
(XV Century) 


No. 25—MARTY RDOM OF S. CATHERINE 
( Panel) 


3 m6 = Height, 261% inches; length, 27, inches 
Code d Dun 
THis seems to be a companion picture to No. 2@/ In an 
open space, backed by rows of gabled houses, a group 
is gathered around the Saint, over whose head floats the 
Dove in Glory. The lady of Alexandria is dressed in 
a gown of gold and black brocade, flounced with white. 
Her hands are fastened behind her back, and a soldier, 
grasping her left arm, has plunged a sword through her 
neck. Another torturer, standing on her right, has taken 
a coal from a bucket with a pair of pincers and holds 
it to the crown of her head; while a third is blowing 
with bellows at a fire that is set around her feet. Mean- 
while, with other figures at the left, stands a black-haired, 
black-bearded man, conspicuous in a scarlet robe, dam- 
asked with gold, who holds one hand over his heart. ‘The 
same figure appears in No. 26 and may represent the 
Saint’s earthly lover, converted by her constancy to the 


Faith. 


—o 


m 


GERMAN SCHOOL 
(XV Century) 


No. 26—PRISONER BEFORE AN EMPEROR 


( Panel) 
2 pig Height, 261 ere ff inches 
THIs seems to be a 5 Gee Seren to N | 25 and 
to represent another incident in the story of S. Cath- 
erine. The man in scarlet and gold robe, who appeared 
in the other picture with his hand on his heart, is here 
being dragged by two soldiers into the presence of a 
crowned monarch, seated on a throne. Presumably it 
is the Emperor Maximinius, though, while his right hand 
grasps a sword, he holds in his left a black orb, sur- 
mounted by a cross. He is attired in a bluish-green robe 
with a broad white collar and a broad border of white 
at the bottom of the skirt. The throne is set beneath a 
red canopy in a Gothic interior, which includes an arched 
entrance and a mullioned window. The subject possibly 
depicts the fate of S. Catherine’s lover, who yielded to 
her influence and embraced the Faith. 


L Ul 


HE 


tUEG 


6sd — 


JOSSE DE MOMPER 
AND 


PIETER BRUEGHEL III 
Friemisu: 1564—1634; 1589—16388 


No. 27—LANDSCAPE WITH FIGURES 
( Panel) 


Height, 2434 inches; length, 404 inches 

THE landscape, painted by De Momper, shotys on the 
right of the foreground a rocky bank crowned with a 
clump of oaks, from which a pathway descends. Farther 
back is a hillside, covered with fir trees, and beyond this 
sweeps a view of valley, cut by a winding stream. ‘The 
vista terminates in ranges of blue mountains. The fig- 
ures, supplied by Brueghel, include a woman. and child 
approaching by the pathway, on the right, a group that 
is composed in the foreground. ‘The center is occupied 
by a woman in red cloak and blue skirt, accompanied 
by a spaniel. She stands near an ass, laden with pan- 
niers, in each of which is a baby. On the right are dis- 
posed a man, a child and two women, one of the lat- 
ter being engaged in washing linen. Balancing these 
on the left of the foreground is a man holding an ass, 
while its saddle panniers lie on the ground beside a red 
cloak. 


HENDRIK (called HERRI) MET 
DE BLES 


Friemiso: Aznout 1480—apout 1550 


No. 283—A MOUNTAIN LANDSCAPE WITH 
ABRAHAMS SACRIFICE OF ISAAC 


( Panel) 


Height, 231% inches; length, 331% inches 


e 4 (] as S. Wi. Y- 


Buve and gray mountains rising to crags’ and tower-like 
rocks are conspicuous in the left half of the background, 
the other part of which is occupied with level land, inter- 
sected by a river. On the edge of the farther shore rises 
a walled city surrounding a cathedral, while farther back 
a mountain range shows faintly against the sky. The mid- 
dle distance is filled with brown, green and yellow trees 
in which buildings are embosomed. On the left of the 
foreground, Abraham has grasped the kneeling Isaac, 
but turns to find his uplifted sword arrested by a float- 
ing angel. Beside the group lie a faggot and a pot of 
fire, while the ram that is to be substituted for the child’s 
life is seen “caught in a thicket.” The patriarch’s two 
servants, one of whom is a negro, are waiting on the 
right of the foreground beside an ass. 


JOACHIM D. PATINIR (or PATINIER) 
Fremisu: Asout 1490—asout 1524 


No. 29—LANDSCAPE WITH REPRE- 
SENTATION OF THE NATIVITY 


( Panel) 


Height, 251% inche: 


oe ot ; 5 in OW: 14 inches 
PROMINENT in the foreground is an arched hyidge with 


t 
, i: 
. 
° 


SODA BRAAMA 


red parapets, on one of which a man sits reading a book. 
In the light of the other details he may be supposed to 
be reading the prophecies of the Nativity, for this event 
is depicted on the right of the composition. Through 
an arched entrance two figures, one of them holding a 
lamb, the other a lantern, are passing into a court, sur- 
rounded by buildings. Here upon a slab of stone lies 
the Infant, whom the Virgin, S. Joseph and a shepherd 
are adoring, while the ox and ass stand at the back. Be- 
yond this enclosure appears an open space, lively with 
figures and bounded by gabled houses and a church. The 
background of landscape displays a fascinating variety 
of details; in the center, a vista of water, island and 
bridges, extending to a precipitous rock, hollowed with 
grottoes and rising up in pinnacles, while on each side 
is an expanse of water, with a roadway following the 


sinuous curves of the shore. 


5 


PA MORONT 


GIOVANNI BATISTA MORONI 
Irauian (Bergamo, Venetian Territory): Anour 1520—1578 


No. 830—PORTRAIT OF A MAN 
(Canvas) 


Height, 8714 inches; width, 2914 inches 


hae Ge. 


AGAINst a dark golden-brown backgretind, the half- 
length figure of a man of middle age is depicted, three- 
quarters to the left, while his eyes gaze to the front. 
The hands are shown near the bottom of the canvas; 
the right holding a gray leather, cuffed glove. The in- 
terval between them and the head is occupied with the 
black masses of the costume, which consists of a cloak 
and a tunic, buttoned up to the throat, where the gravity 
of effect is relieved by a delicate white ruff. The sub- 
ject’s dark-brown hair grows in a little point over the 
forehead. The face is of brownish hue, rather rugged, 
with brown eyes, deeply set and fringed with wrinkles; 
a long, somewhat aquiline nose; and a mustache and 
pointed beard, a little lighter than the hair of the head. 


LUCAS CRANACH THE ELDER 
German (Saxon School) : 1472—1558 


No. 31I—MADONNA AND CHILD 
WITH S. JOHN AND CHERUBS 


(Canvas—transferred from Panel) 


70 or Height, 4614 inches; width, 32% inches 

THREE cherubs with blue-green wings, floating against an 
olive background, suspend a crimson velvet dossal over 
the sacred group. Madonna is seated, facing three-quar- 
ters to the left, with her arms tenderly encircling the 
Christ as He stands on her lap, offering an apple to the 
infant S. John, who looks up lovingly while resting a 
hand on a lamb’s head. The Virgin’s yellow hair, smooth 
over the head and falling in ringlets upon the shoulder, 
is covered with a transparent veil that reaches down to 
the almond-shaped brown eyes, which are looking out of 
the picture. She is clad in a blue robe that reveals a 
glimpse of filmy material at the neck. 


Signed at the upper right with the winged serpent 
and dated 15385. 


daset Ini Se pi 
4 ; : hy i 1 y - 7 
4 mi 


Py 7 rh ; Gt N 
ey eM Na 
fs ~~ NS. 


re 
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» ao 


NICOLAS POUSSIN 
Frencu: 15938—1665 


No. 382—A BACCHANAL 
(Canvas) 


Height, 38 inches; length, 54 inches i, 

Vie 0. a WW. Pega 
In the center of a pleasant landscape, composed of suave, 
tranquil lines and masses, rises a mound, occupied by 
five trees that shelter a statue of Bacchus, raised upon a 
pedestal. At the foot of the latter is a votive wine-jar, 
near which are grouped three nude pipe-players and a 
fourth with a tambourine. Below the mound reclines” 
a mother, whose child is struggling to reach her breast. 
A. faun leans over her, and another is seated at the right 
beside a nymph, whose beautiful form is nude save for 
a pale rose drapery. On the left of this group two other 
nymphs are dancing with a youth, their blue and white 
draperies floating freely to the grace of their movements. 
The wreath of figures is completed by two other men 
dancing with spirited abandon, while, under the shadow 
of a tree on the left, two fauns set the measure with 
their pipes. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


REPRESENTED AND 
EIR WORKS 


LIST OF ARTISTS REPRESENTED AND 
THEIR WORKS 


AMBERGER, CuristorH 
Portrait of Charles V of Germany and I of 


CATALOGUE 
NUMBER 


Spain 20 
BAZZI, Giovanni ANTONIO 
Madonna and Child 15 
The Holy Family with S. John 22 
BOUCHER, (ScuHoor or) 
Sleeping Nymphs Surprised by Satyrs 9 
BRUEGHEL, Jan, ann HENprik VAN BALEN 
Madonna and Child with Angels 5 
BRUEGHEL III, Pierer, anp Jossr pbE MOMPER 
Landscape with Figures 13 
Landscape with Figures : 27 
BRUEGHEL THE ELDER, PI£TER 
Peasants Fighting 12 
-CRANACH THE ELDER, Lucas 
Portrait of Martin Luther 2 
Portrait of a Man 8 
Madonna and Child with S. John and 
Cherubs 31 


DA VINCI, Lronarpo (Attributed to the Mi- 
lanese School of) 
Madonna and Child 16 


DI COSIMO (DI LORENZO), Pirro 
Madonna and Child 


GERMAN SCHOOL (XVrH Century) 
Prisoner before an Emperor 
Martyrdom of S. Catherine 


KOFFERMANS, Marcetius 


The Crucifixion 


LIPPI, Finippro 
Madonna and Child 


MET DE BLES, Henprik (cALLED HeErrt) 


A Mountain Landscape with Abraham’s 


Sacrifice of Isaac 


CATALOGUE 
NUMBER 


21 


17 


28 


MOMPER, JossE bE, AND Pieter BRUKGHEL III 


Landscape with Figures 
Landscape with Figures 


MOREELSE, Pautus 
Portrait of a Young Man 


MORONI, Gtovanni BatTrTistTa 
Portrait of a Man 


PATINIR (or PATINIER), Joacuim D. 
Landscape with Representation of the Na- 
tivity 


POTTER, Paur 
Milking Scene 


POUSSIN, Nicotas 
A Baechanal 


13 
27 


30 


29 


32 


| VAN 
VAN 
VAN 
VAN 


VAN 


VAN 
VAN 
VAN 


VAN 


CATALOGUE 
NUMBER 


AEKEN, Hrrronymus 

Christ with the Doctors in the ‘Temple 24 

BALEN, Henprikx, ann Jan BRUEGHEL 

Madonna and Child with Angels 5 

CLEEF THE ELDER, Joos 

Madonna and Child 14. 

DER GOES, Huco 

Flight into Egypt 23 

DER MEERE (or MEIRE), Grrarp 
(Attributed to) | 

Altar Panel 18 

Altar Panel 19 

DYCK, ANTON | 

Portrait of a Young Man 3 

GOYEN, Jan 

River Fishing Scene 11 

MABUSE, Jan (Gossarr) 

The Virgin Enthroned 4 

RUISDAEL, Satomon 


A. Waterside with Boats 10 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


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JEWELS AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


IN CASES WHERE 


PUBLIC SALES ARE EFFECTED 


A NOMINAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 


MADISON SQUARE SOUTH 
NEW YORK 


TELEPHONE, 3346 GRAMERCY 


Pe ech S i nas yee 
COMPOSITION, PRESSWORK i 
AND BINDING BY ep 


PEE EE OO IO wm F 


17 


Ax > 


seit 


S, A, Van Wezel, 

E, K, Stringer, 

W. W, Seaman, Agt., 
Otte Bernet, Agt., 
Otte Bernet, Agt., 
Edward Stone, 

Otte Bernet, Agt., 
Kleinberger Galleries, 


DD, Geo, Derry, 
A, 8, Van Wezel, 


A. &, Van Wezel, ; 
E, K, Stringer, 

Otto Bernet, Agt., 
Edward Stone, 
Ederheinsr, 
iderheimer, 

W,. Seaman, Agt., 
Goudard, 

Goudard, 
3, Van Wezel, 

W, Seaman, Agt., 
einberger Galleries, 
T, Oliver, 

de Brozik, 
- K, Stringer, 
E, K, Stringer, 

A, 5, Van Wezel, 

J, M, Wimpil, 
B, Burroughs, 
1 
T 


* 


Bet a 


2 


a 
eB 


 Sedwick, 
« Brummer, 
W, W, Seaman, Agt., 


THE PLAZA, SALE WEDNESDAY EVENING, APRIL 26, 1916, 


mena ee tie 


$150.00 
100,00 
400 ,00 
525,00 
675,00 
250,00 
1,775.00 
550,00 
700,00 
1,050,00 
550.00 
300,00 
550,00 
550,00 
700,00 
1,050,00 
1, 550,00 
1,250.00 
650,00 
325,00 
1, 100,00 
8, 590,00 
850,00 
325,00 
300,00 
225,00 
650,00 
600,00 
2, 800,00 
350,00 
900,00 
1, 600,00 


SALE OF PRIMITIVES AND OTHER OLD MASTERS BELONGING 
TO NICOLAS RIABOUCHINSKY, MOSCOW, RUSSIA, AT THE 
PLAZA HOTSL, NEW YORK, WEDNESDAY EVENING, APRIL 


PSs. 


4 stkEeys*= WOw hw wre js 


17 


BUY E.R 5: 
S. A. Van Wezel 
E. K. Stringer 
We We Seaman, Agent 
Otto Bernet, Agent 
#-do# 
Edw. Stone 
Otto Bernet, Agent 
Kleinberger Galleries 
BD. Geo. Derry 
A. S&S. Van Wezel 
=-do= 
E. K. Stringer 
Otto Bernet, Agent 
Edw. Stone 
R. Ederhsimer 
“~do# 
W. W. Seaman, Agent 
J. Goudard 
=do= 
A. Se Van Wezel 
We We Seaman, Agent 
Kleinberger Galleries 
Re Ts Oliver 
M. de Brozik 
E. K. Stringer 
=do= 
A. Ss Van Wezel 
J» M. Wimpil 
Be Burroughs 
T. Sedgwick 
T. Brummer 
We W. Seaman, Agent 


SALE OF PRIMITIVES AND OTHER OLD MASTERS BELONGING 

TO NICOLAS RIABOUCHINSKY, MOSCOW, RUSSIA, AT THE 
PLAZA HOTEL, NEW YORK, WEDNESDAY ZVENING, APRIL 

| | 3 26th, 2 


NO. BUY £ ORS. PRICES. 

1 S. A. Van Wezel $ 150. 

2 E. K. Stringer 100. 

3 We We Seaman, Agent 400. 

4 Otto Bernet, Agent 525. 

5 #do- 675. 

6 Edw. Stone 250. 

4 Otto Bernet, Agent me yai-r 

8 Kleinberger Galleries §50. 

9° ®. Geo. Derry 700. 

10 A. & Van Wesel 7 - 1050. 

iL #dow 550. 

= aa E. K. Stringer 3 300. 

13 Otto Bernet, Agent 550. 

ae 44 x Edw. Stone 550. 
Ei iit eee R. Ederheimer 700. 
ieee oes doe 1050. 
| 17 W. W. Seaman, Agent 1550. 
18 J. Goudard 1250. 

19 -do@ 650. 

20 A. 8. Van Wezel 325. 

as We We Seaman, Agent 1100. 

22 Kleinberger Galleries 8500. 

23 R. T. Oliver 850. 

24 M. de Brozik 325. 

25 &. K. Stringer 300. 

26 _ =doe 225. 

27 A. S. Van Wezel 650. 

«2B J. M. Wimpil 600. 

29 B. Burroughs | 2800. 

20 T. Sedgwick 350. 

33 T. Brummer 900. 


32 W. W. Seaman, Agent 1600. 


ae | tae : 


ESEARCH INSTITUTE | 


NUM 


"33125 016630143 


rath 
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